age-related stereotypes are still very much alive in today’s
society’ (Butler, 2006) whether this be within magazines or
on television, the representation of older generations within
the media is distinctively lacking. This idea fuelled the initial
inspiration for our photographic shoot; as it became a recurring
theme when discussing the ideas behind ‘what is beautiful’.

2

Despite all five of us being

young and relatively content
with the way that we look, we
all admitted that already, we
were trying our hardest to fight
any possible signs of ageing.
Whether this be using the
same anti-wrinkle cream as our
mother, or consciously trying
never to frown; or in some
cases smile. We understood
ageing to be a prominent taboo
for our ever increasingly selfconscious generation, and
decided to confront our fear of
the inevitable, and ask why?

‘One suggestion is that we aren’t

forced to face up to our own
ageing process because the
elderly are deftly airbrushed out
of our lives by an ageist media
and a business culture in thrall
to youth’ (Anon, 2012). With
the use of plastic surgery up
4% from 2010 (Jalabi, 2013),
what ever happened to ageing
gracefully, and what’s ugly
about a few wrinkles here and
there?

3

From this, we began to look at artists who had incorporated the ageing

process within their work for inspiration, and came across the ‘Coming
of Age’ exhibition that took place at GV art in London during the
summer of 2012. The exhibition combined both the art and science
of the ageing process; allowing artists such as Carla Bromhead,
Andrew Carnie and Jennie Pedley to ‘examine the effects, the wisdom
and achievements of ageing’ (Anon, 2012). We loved the literal
interpretation and acceptance of ageing within the images, but wanted
to combine a similar message within a more inventive visual stance.

FIGURE 3, UNTITLED 1, CARLA BROMHEAD, TEA, 2012.

4

After

researching the artists
involved within the exhibition, we
found that Andrew Carnie often
used projections within his work.
Visually, we felt this could create
a really powerful aesthetic in
conjunction with our concept and
began researching more and
more projection artists. From this,
our main visual inspirations came
from the work of Linder Sterling
- an artist known mainly for her
post-punk controversial collages
combining pornographic images
with every day, household items
(Banash, 2013), (Figure 4).

Along with Davis Ayer; an artist
most famous for his â&#x20AC;&#x2DC;time travelâ&#x20AC;&#x2122;
projections that feature different
cities and scenes from around
the world - projected onto the
body (Figure 5). The above
artists all take a literal approach
in terms of art direction, whether
this is with the aid of projection,
collage or via postproduction.
We wanted to combine these
mediums to create a sense of
reality versus surrealism within
one image, allowing us to portray
a literal confrontation to ageing.

FIGURE 5, TIME TRAVEL, DAVIS AYER, 2011

FIGURE 4, UNTITLED, LINDER STERLING, 1978.

5

PHOTOGRAPHIC SHOOT

The

final images from the
photographic shoot feature the
projection of various collage
images - made up of aged
facial features onto a naked
youthful body. The models face
is particularly prominent within
two of the three final chosen
images, with the third showing
just the mouth area of the face.
We took a very direct and literal
approach to the confrontation of
the ageing process; we wanted
the model to appear content
with the idea that ageing is a
beautiful and natural factor of life.
The photo shoot was taken in a
dark room, on a DSLR with the
flash turned off and the camera
mounted on a tripod. The only
light came from that of the
projector, allowing the projection
to appear the most prominent
and vivid within the image, whilst
creating intense shadow in the
curves and creases of the body.

6

FIGURE 6, AGEING GAZE, OWN IMAGE, 2013

7

FIGURE 7, CONTENT WITH AGEING, OWN IMAGE, 2013

8

We made a conscious decision

not to use props in this photo
shoot. We felt that the use
of props could have drawn
away from the strength of the
images we were projecting,
not to mention the natural
form of the models body.
In conjunction with this, the
decision not to use props was
made simpler by the fact the
photo shoot took place in a
dark room, with the only light
being that of the projector. Any
props would therefore not be
visible unless they were within
the path of this light source.
The decision to have the model
without clothes was made in
order to show her vulnerability.
The various lines and creases
within the images projected
interact with the shape of her
body in unusual ways, the
use of clothing could have
distorted these qualities. As
she was wearing no clothes,
the final poses chosen for the
images were essential. We
were extremely careful not to
over sexualise the images, as
this was not the original aim
and could detract from our
theme that â&#x20AC;&#x2DC;ageing is beautifulâ&#x20AC;&#x2122;.

9

FIGURE 8, AGEING GAZE
OWN
IMAGE,
2013

Within

FIGURE 9, AGEING GAZE,
OWN
IMAGE,
2013

our final images, the models gaze
represents that of contentment, confronting
and embracing the images of ageing
faces that are projected onto her youthful
body. Her gaze is purposely different in
all three of our images whilst consistently
being neither dominant, nor submissive.
The first of the three images shows the
model looking straight into the camera, here
the gaze purposely represents strength
and acceptance of the ageing process,
allowing the viewer to feel she is looking
directly at them, although powerful, we
purposely only included one image with a
direct gaze, as not to appear too forceful.
The second image purposely features a
slightly more submissive gaze from the
model, as the eye from the projection
appears to staring straight at you. This
image works particularly well as the
model appears to be contemplating
her future, addressing the social taboo.

FIGURE 10, COMFORT IN
AGE OWN IMAGE, 2013

The final image features no visible gaze,
the model appears to be comforting
herself, again, accepting and embracing
the ageing process projected onto her.
This image is particularly strong due to
the red tones featured within the image.
Red is known to symbolise life, survival
and passion. The models half smile shows
contentment, whilst the projection of a
smile represents happiness is to come.

10

FIGURE 11, COMFORT IN AGE OWN IMAGE, 2013

11

I-D MAGAZINE

In

terms editorial use, we
decided our images would work
best within the ID magazine
publication. Established in 1954
but adapted in 1980, and well
respected within both fashion
and lifestyle sectors (circulating
83,054), I-Dâ&#x20AC;&#x2122;s readership is that
of 18-35+ year old style leaders
and opinion formers (Bradinsight,
2013); a group not only perfect
for the generation we are trying to
target with our images, but also
those that would appreciate the
artistic approach and inspiration
used to achieve them. I-D as a
publication is not scared of taking
risks, allowing us to incorporate

our
main
references
to
controversial artists such as
Linder Sterling without fear of
causing offence. The images used
would be easily incorporated and
adapted to fit perfectly into the
layout and overall design aesthetic
used within the publication.
We felt publications such as The
Gentlewoman and Vogue, had
far too wide a target audience
(18-46 year old and 20-44 year
old respectively) (Bradinsight,
2013), to be suitable for our
images. In addition to this, we felt
our images would be lost within
Vogues classic and tight aesthetic.

12

IN CONCLUSION

As a whole, I am extremely pleased with our three final images. I feel

they directly address and question the essay title ‘what is beauty’
in a unique and diverse nature. Ageing is an inevitable factor for
us all; our images represent a beautiful woman born within an
overly self-conscious (more so than any previous) generation
confronting the unnecessary social taboo of fearing getting older.
The images are powerful and prove our message that ageing
is beautiful. ‘After all Wrinkles are the calligraphy of our lives.
They identify us as respected elders, wise mentors, ancestors
in training. Each wrinkle tells a story.’ (Harvey-Warren, 2010)